LIBRARY OF CONGRESS. 

Shelf ..S^--'^-:b 



UNITED STATES OF AMERICA. 



CASNEAU'S GUIDE 



ARTISTIC DRESS CUTTING 
AND MAKING 



Mrs. ALICE A. CASNEAU 

BOSTON, MASS. 



Copvrightc-d April 4, 181)7 




PRESS OF 

BROOKS BANK NOTE COMPANY 
Boston, Mass. 



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-f 






c- 

INDEX. 



Introduction •> ^ ........ .... 3 

Purchasing Goods 8 

Articles REquiRED for a Dress . . .>. 10 

Directions for Taking Measures i® 

Chapter I. Cutting the Waist and Sleeve Lining •• . 13 

Diagram 1 15 

Diagram II iS 

Summary 2^ 

Chapter II. Basting . . . . 24 

Diagram III iS 

Diagram IV 30 

Summary 31 

Chapter III. Flitting the Waist and Sleeve. ■ 33 

Diagram V 35 

Diagram VI yj 

Summary' ^ 38 

Diagram VII 4© 

Chapter IV. Pressing, Binding, etc • • 41 

Diagram VIII 43 

Summary ^ - 4,4 

Diagram IX 46 

Diagram X • • • • 48 

Notes on Finishing '49 

Diagram XI 5" 

Chapter V. The Skirt • • vS 

Diagram XII • S^ 

Diagram XIII > • ••• 5^ 

Diagram XIV '^>2 

Summary (^'^ 

Diagram XV^ ^>5 

Practical Suggestions f*6 

Practical Suggestions to Young Dressmakers • 68 

Shopping Done •' 7'4 

Custom Order Measures -• • 75-9^ 

Author's Advertis^ement 93 



- iS^o 



INTRODUCTION. 



My apology for this addition to the already long list of instruc- 
tions for dress cutting and making is a sincere desire to present a 
guide for pupils and young dressmakers which shall contain a mod- 
erate list of directions, all of which are practical working rules. 

Suggestions are given as to the most suitable style of gowns for 
various figures, cloth to be preferred, and so on ; but no attempt is 
made to describe fashion. That would be extreme folly, considering 
the fact that styles change every month ; but it is always essential 
to know how to make a good fitting waist, how to make and hang a 
skirt properly, and also how to finish off well. 

The rules for these points in dressmaking are standard ones ; for 
it matters not how often fashion changes and whether the effect to 
be desired is loose, concealing the figure, or the waist is snugly 
fitted. The principle of dress-cutting is always the same; namely, a 
perfectly fitted and boned lining. 

Besides, there are ladies who can wear none other but a plain 
fitted waist, with perhaps a little pointed trimmings in the form of 
revers or a narrow vest. 

To the woman of moderate means and to the young dressmaker 
this book is invaluable. It is sure to satisfy a long-felt want of 
women in general, and especially those wh.o do their sewing at home 
or women who anticipate learning the trade as means of gaining a 
livelihood. 

The directions are carefully written, with a view to being readily 
understood by the pupil. It is positively. a year's instruction con- 
densed, yet so fully explained that any person with the inclination 
to learn, and having ideas of how a dress should look, can, by follow- 
ing the directions given, become an artist in this line. My experi- 
ence in teaching has been that knowing a system or chart does not 
necessarily make one a dressmaker; and even if a pupil has a nat- 
ural aptitude, and has acquired a fitness for the work by sewing in a 
first-class establishment, nothing helps her so much as responsibil- 
ity, — to know that on her work and to her judgment and taste as to 



the selection of trimmings, blending of shades, and style of gown 
which is best suited to the person who is to wear it, depends the ap- 
proval or the disapproval of the patron, and, 1 may add, her friends. 
For you know a gown must please a great number of people besides 
the wearer, to give the dressmaker any credit or the owner satis- 
faction. 

I would ad\ise every pupil to learn a good system, but do not let 
your instruction end here ; for in these days dressmaking is truly 
artistic, and the woman who would be mistress of the trade must 
study, plan, and be painstaking from the time the customer gives 
her order until the dress is finished and sent home. 

Ill-fitting, poorly finished dresses are a waste of money and loss 
of comfort. If you are annoyed by such or compelled to stand hours 
until your patience is utterly exhausted, be convinced it is all un- 
necessary. The guide teaches how to make all changes with two 
or three times trying on, and while the basque is off the figure. 

Some of the distinctive features of the book may be briefly stated 
as follows : — 

1. The arrangkmkxt into chapters and sections in a systematic 
way places the rules where they will come in regular order for cut- 
ting and making a gown. 

2. A TAisLE GIVING A Lisr OF FiNDiNiis, and the amount necessary 
for making a dress, is a feature especially valuable to beginners. 

3. The LARtiE NUMBER OF iLLUSTRA'iioNs will be ver}' helpful to 
pupils. 

4. The sug(;esti()NS after eacli chapter. These are full of in- 
formation which generally comes by experience, and will be of great 
value to the reader. 

5. It teaches how and on what grain of the cloth to lay each por- 
tion of the pattern for cutting. 

6. How TO ECONOMIZE in cutting, how to overcome dithculties 
which may occur in fitting, how to baste, press, and finish correctly. 

7. Fui.L DIRECTIONS are given for making a good fitting and 
perfectly finished dress by any system, besides cuts and illustrations 
showing how to make nearly any gown which the average young 
dressmaker would attempt. 

8. It does not confuse the pupil by giving instructions for cut- 
ting every garment worn by women and children, but deals directly 
with dress cutting and making, as I have found few young women 
who had either the time or money to spend in learning anything 
which was not absolutely necessary for beginners to know. 



9- The fitted model patterns, while they are not warranted to 
fit every figure without changes, will prove a special aid to the home 
dressmaker. The curves are correct, and the directions for their 
use plainly written ; and, therefore, the pupil may be safely trusted 
to cut and fit any style of waist by the rules given, and by first fit- 
ting to the intending wearer a common silesia or cambric pattern 
traced from these models. 

lo. The guide is self-teaching, and can be used with any system 
or with paper patterns. The rules are simple, and have been thor- 
oughly tested. In brief, the aim has been to make the work emi- 
nently practical for the average woman. My only request is that 
the pupil will follow accurately every detail of instruction. 

From the necessity of finding an easy method for those who have 
been under my personal instruction, I arrange this book, hoping it 
will prove a great benefit to the possessor; and, should you find 
your work easier and more perfectly done by following the rules 
given, I trust you will recommend its purchase by your friends. 

The Author. 
April. 1S95. 



TO THE READER. 



Never leave a part or section until it is accomplished as well as it 
can be done. Give particular attention to lines and curves which 
beautify the figure. A basque may fit the figure, yet lack that sym- 
metry which distinguishes high-class work from that done by in- 
experienced persons. Don't hurry, don't work any faster than you 
read and comprehend thoroughly, don't tax yourself with more than 
one thing at a time. Remember that this work has been done hun- 
dreds of times by the rules given and in the manner described, and 
is all arranged for you. Cut each piece of cloth and lining as care- 
fully as if it were striped ; for you know that plain goods are invis- 
ibly striped, — that is, the threads or grain of the cloth run straight 
and, unless all the portions of a basque are cut and fitted together so 
that the lengthwise thread runs straight down the figure, to an ex- 
perienced eye the effect is as bad as though stripes were un- 
matched. When a dress is properly cut, basted, fitted, pressed, and 
finished, the figure is shown at its full length, consequently to its 
best advantage. 

The impression prevails that it is a difficult matter to make a per- 
fectly smooth-fitting garment. The idea is erroneous. The secret 
is simply this, — to make every part of the dress except the outside 
material full ; that is, the inside, trimmings, linings, facings, bind- 
ings, bone-casings, belt, sleeve-protectors, braid; full, — in short, all 
the inside trimmings of waist and skirt should be loose, and, the out- 
side material being drawn tightly over the linings, it cannot wrinkle. 
I would advise the reader to endeavor to get just the right amount 
of fulness on the inside of the gown, not enough to make the lining 
unsightly, and to spoil the garment ; but aim at the right quantity. 
But of the two extremes, I would prefer that you have the inside 
finishing a little too full rather than too tight. 

Avoid having your work appear puckered in the least. Take the 
stitches firm, but do not draw them too tight. Always spring the 
whalebone into the seams of the waist as tightly as possible. One 
of the first and greatest considerations is to take the utmost pains 



with your work. The habit which many people have of slighting 
the finishing of the dress is a very bad one, and the woman can 
never become a successful seamstress who does not take infinite 
pains in every part of the making of a garment. I know all about 
those last stitches which are so aggravating when the garment is al- 
most finished : it seems that you can never take the final stitch. 
You will become very tired, but on no account slight the finishing. 
Make it a practice to complete every piece of work as well as you 
know how. 

NOTE. 

In cutting, lay the front edge of each portion of pattern of waist 
or skirt toward a selvage or straight thread of the goods. I do 
not mean that the front edge of pattern should always be parallel 
with the straight thread of the material ; but generally it should be 
turned toward it, the only exception being the back forms of the 
basque, the centre back of which should lie toward the selvage or 
straight thread. 

See Diagrams. 

The Lines of a Waist. 

These should be gradual curves : never allow a decided waist-line 
to be visible. Every line should be a continuous curve from the be- 
ginning to the end, following the lines of the figure. The back form 
should usually taper to | of an inch or i inch waist-line, the 
side back form should be narrow, and the distance from the centre 
front to the first dart must be quite narrow at the waist-line and 
below the same to bottom of basque giving a tapering effect. If it 
is necessary to have broad seams, make them under the arm, and 
always add the extra under-arm portion to a basque for a stout 
figure. Have in mind a perfect figure, and by exercising care you 
can make a poor or flat figure appear round and shapely. 

Purchasing Goods. 

What to buy for customers or indeed for one's self is sometimes 
a perplexing matter. To commence, it is generally conceded that 
there is no economy in buying cheap goods or linings. 

When purchasing goods for evening wear, material with all trim- 
mings should be seen under gas-light, as the colors are often en- 
tirely changed under evening light. 



It is advisable for persons of slender means to select material 
which can be worn both day and evening. Care should be taken to 
select such quality and style as are suited to the individual. Thus 
goods of a heavy, costly design are better suited to the elderly or 
middle-aged lady and to a tall, stout figure than to a young or 
slender person. 

Persons of short stature should never wear large plaids nor broad 
stripes. Large persons look well in plain goods, fine stripes, or tiny 
checks ; and of course there is shown in the shops a great variety of 
materials for party dresses and handsome cloths for severe street 
gowns which can be purchased at moderate prices. 

The genteel woman will avoid wearing anything which attracts 
attention because of its showiness, but is ambitious to possess a 
wardrobe which is admired because of its elegance and simplicity. 

It is possible for any woman to follow the approved style and still 
dress very becomingly if she has the faculty of striking the right 
medium. There are women who know how to dress well and who 
always wear the most appropriate things. There is another class 
who have so little time to give to matters of dress that they content 
themselves if they are simply clothed neatly. 

Then there are women who have not the least idea of what they 
should wear. To the two latter classes the dressmaker should give 
special attention, and advise (if the customer does her own buying) 
how to select the material, color, and style which, in her judgment, 
will best suit the person and the occasion on which the dress is to be 
worn. Every season there is shown in the large dry-goods houses 
so many pretty novelties in modest designs that, with a little atten- 
tion given in buying goods and selecting trimmings to match, one 
need make no mistake, and can acquire a habit of dressing in a man- 
ner which will indicate good taste ; and let me add that the wise 
woman wiH prefer to expend her money in the quality of cloth which 
she buys rather than in the quantity of trimmings. 

I know women who will stare at you in blank amazement if you 
show them samples of goods at $1.50 per yard (which is wide and 
less is required for a dress than goods of a cheaper grade, aside from 
the fact that less trimming is needed), but will buy two or three 
yards more of a less expensive but narrower goods, and then get a 
great quantity of ribbon or other decorations, making the gown as 
expensive, when finished, as though a better material had been used, 
and as a consequence receive not half the satisfaction in wearing. 



lO 



List of Articles required for Making a Dress. 

For a medium-sized lady, material required will be 7 yards of goods 
46 or 48 inches wide, 2\ yards of cotton surah for waist and sleeve 
lining, 5 yards of percaline for skirt lining. 

Always buy good waist and skirt linings : one of the chief essen- 
tials to good dressmaking is to use the best inside linings. There is 
no economy in buying inferior dress trimmings. One yard of alpaca 
for facing bottom of skirt, i yard of taffeta silk the color of the ma- 
terial for facing basque, collar, and sleeves, and h yard more if revers 
or other trimmings are to be faced, 5 yard of inside belting, number 
of yards of velveteen or braid depending on the width of the skirt, 
buy V yard more than the actual length required to allow for sewing 
on and shrinkage. 

Hair cloth, canvas, or other stiffening for skirt, the kind and 
amount which fashion demands. 

2 yards of grass cloth for sleeves. 

2 spools of silk. 

2 spools of twist. 

I spool of cotton. 

I roll of taffeta seam-binding. 

I roll of bone-casing. 

I dozen bones or good steels, assorted lengths. I recommend du- 
plex dress steels. 

I pair of sleeve-protectors. 

I card of hooks and eyes or buttons, silk dust ruffle for inside of 
bottom of skirt, number of yards depending upon width of skirt, 
feather-bone, elastic, and whatever other additions that the prevail- 
ing style may dictate. 

Directions for taking Measures and testing a Pattern. 

For length of back measure from the nape of neck to the extreme 
point of waist at centre back. 

To measure for top of darts, place the tape measure at centre back 
of neck, and measure over the shoulder on a straight line to the top 
of first dart, being careful that you measure well over the bust, that 
the darts may not be too high. 

To get size of bust, place the tape measure around the largest 
part of the figure in front, bring it under the arms and across the 
thick part of the figure at the back, use one-half. 



1 1 

For width of back, measure across the shoulder blades from 
armpit to armpit. 

For length of waist at front measure from centre back of neck to 
extreme point of waist at front, a straight line over the shoulders. 

Measure size of waist. 

To measure for sleeves, get length of arm from the top of the 
shoulder to the elbow, and continue down to the wrist, and write 
down both measures. 

Measure arm size. 

To measure for the skirt, pin extra tape measure around waist, and 
measure length of skirt, front, side, and back. 



NOTE. 

Join and measure, less seams, every part of the waist pattern pre- 
cisely as you have the figure, and increase or diminish the size or 
length, if necessary. Always buy the newest skirt pattern. 



CHAPTER 



CUTTING THE WAIST AND SLEEVE 

LINING. 

Section 1. Cutting the Lining of Front of Waist 

Leave the lining double, as it was bought. Place it on the cut- 
ting board with the folded edge toward you, having the greatest 
quantity falling to the right hand, with the end of lining on the 
board at the left. 

Place the front portion of the pattern on so that the front edge 
will come to the selvage of lining, allowing 2 inches from the line 
for centre of front on pattern, with the neck toward the right hand 
and the bottom of the pattern to end of lining at the left. Pin the 
pattern securely to the lining, trace out the fronts only (not under- 
arm forms) from the neck Or right hand down, being careful to run 
exactly on the lines, because straight seams depend in a great meas- 
ure upon correct tracings. Trace the waist-line, shoulder seams, 
and top of darts. 

When cutting out, allow i inch on the shoulder seams, i inch on 
the front under-arm seam, and 2 inches on the centre front. Cut 
close to the pattern at the arm size. 

Always cut the lining a trifle higher than the pattern at the 
centre front of neck, running to the line as you near the shoulders. 
It is well to do this, as the waist is ruined if cut too low at the neck. 

See front of Diagram I. 

Section 2. Cutting the Lining of Back Forms. 

If you are cutting by one of the diagrams, work by rules given 
on the same. 

If from a paper or draughted pattern, turn the piece of lining 
over from which the front was cut, — -that is, have the folded edge 
from you and the cut edge toward you, — and you have an end 



14 

shaped very much like the back form. Place the pattern of back 
form on with the centre back seam parallel with the folded edge of 
the lining (that is, from you), with the back neck toward the right 
hand and the bottom of pattern on the small end of lining at the 
left. Pin pattern at the neck only, then draw the pattern from you 
at the waist-line li inches. 

Explanation. — The centre back seam should slant /// across the 
grain of the cloth as it leaves the neck, until a full li inches is 
taken out at the waist-line. 

This shows plainly in stripes, causing them to taper at the waist- 
line ; and you will remember that you are to cut all goods as if they 
were striped. 

Pin the pattern as it is arranged securely to the lining, and trace 
from the neck or right hand down. Also trace shoulders and waist- 
line. 

In cutting out back form, allow for seams i inch on the shoulder, 
J of an inch on the centre back. Cut close to pattern at the neck 
and arm size, and allow i inch on the round seam. 

See back form of Diagram I. 

Section 3. Cutting the Lining of Side Back Form. 

Turn the selvage of lining toward you, with the small end from 
which the front neck was cut toward the right hand. Place the 
pattern of side back form, having the arm size on the small curved 
piece, toward the right, with front edge of pattern toward the selvage. 
Allow I inch for seam at the upper end, and pin pattern to lining 
at the arm size. Then move the pattern at the waist-line until 
it is away from the selvage 3 inches, thus crossing the grain of 
the lining so that the side form will fit into the back form as if 
they were one piece of goods. The straight grain of the pattern 
will lay on a straight thread of the material. 

Sec side back form of Diagram I. 

Section 4. Cutting the Lining of Front Side Form. 

Get a selvage or lengthwise fold of the lining, turn the same from 
you. Place the pattern of front side form on the lining, with the 
arm size toward the right hand, having the front of the pattern 
turned toward the straight thread. Allowing a medium seam at the 
upper end, pin in place at the arm size, and draw the pattern away 



15 




DIAGRAM I. 

Showing the position of pattern on Uning. 

Notice the exact position and the Hnes of each portion of the pattern. 
Lining to be turned when cutting the side baclv and under-arm form. 
Greatest quantity toward the right hand. 

Except for very large busts, take up a V in Uning, leaving the seam to 
come next to the outside material. 



i6 

from the selvage or lengthwise thread at the waist-line only 2\ 
inches. Trace from the arm size or right hand down exactly on the 
lines. Also trace the waist-line. 

In cutting out, allow i inch on the front and back seams, and 
cut close to pattern at the arm size. 

Sec front side form, Diagram I. 

If the waist is to be cut with a double under-arm form for a stout 
figure, cut the extra portion on the same principle by which the front 
side form was done. 

Section 5. Cutting the Material for Front 
(of Plain Goods). 

Place the goods on the board with the folded edge from you, hav- 
ing the greatest quantity of cloth falling toward the right hand, and 
the end of the goods on the board toward the left. Place the lining 
on the material, so that the centre front will be parallel with the 
selvage about 6 or 8 inches from same, with the neck toward the 
right and the bottom of pattern to the end of the goods at the 
left hand. Be sure that the lining is perfectly straight on the mate- 
rial by measuring from the selvage of the lining at neck to the sel- 
vage of the material. Measure the distance from edge to edge at 
the bottom, having the amount of cloth to correspond at each end. 
Then pin in place, and cut the goods even with the lining on the 
shoulders, at the arm size, and on the side seam. Do not cut 
out the neck, but cut straight across the goods on a line with the 
shoulder. Also leave the extra inches allowed on the front for 
fulness, fine pleats, or revers, at any rate until after the waist is 
fitted, and you have decided what style of front you prefer. 

Section G. Cutting the Material of Back Forms. 

Place the lining of back form with the centre seam toward the 
folded edge of goods, and follow carefully the directions given in 
Section 2 for cutting lining of back form. If making a plain back, 
cut even with the lining. If a plaited or a fancy back, cut according 
to instructions for the same. ( See directions for fill back.) 



17 



NOTE. 

If making up plaid or goods which are not reversible, such as 
broadcloth, velvet, and some flowered materials, note carefully the 
instructions for cutting which will be found on another page. 

Section T. Cutting the Material of Side Back Form. 

Place the lining of side form with the front edge toward a selvage 
or lengthwise thread of the material, and arrange as directed in Sec- 
tion 3 for cutting lining of side back form. Cut the material even 
with the lining. 

See diagram I. for cutting side hack form. 

Cut the material of front side form by instructions for cutting lin- 
ing of same. 

Sfxtion (S. Cutting Material for Front Side Form. 

Place the front edge of lining of side form toward a selvage or 
straight edge of goods, and allow lining to cross the grain of cloth 
about 2% inches at the waist-line (see section on cutting lining for 
front side form). Cut out close to lining. 

Section 0. To cut the Sleeve Lining, 

Place the lining on the board with the folded edge toward you, 
having the greatest quantity of goods toward the right. Pin the 
upper portion of pattern on so that the wrist is to the end of the 
cloth at the left, and the upper and lower corners of the front seam 
will meef the selvage. Pin in place, trace, and cut out, allowing 
a medium seam. 

To cut the under portion, turn the folded edge of cloth over ; that 
is, from you. You will notice the position of the under piece of 
sleeve on Diagram II. Pin yours in place as that is. Trace from 
the top down. Trace elbow line, and cut out. 

Cut the outside material on the same principle. 

To match Plaids or Broad Stripes. 

Place two corresponding plaids or stripes together before laying 
on the front or other portions of lining {except the side back fonn) 




DIAGRAM II. 



Showing the sleeve pattern pinned on lining. Note the straight grain 
on a lengthwise thread of the lining. 

Lining to be turned when cutting the under-sleeve portion. 

Upper and lower corners of upper portion touching a selvage or straight 
thread of the lining and material. 



19 

Before cutting the several portions of the material, measure from any 
plaid, by a mark on the tracing of the lining, for the block on the 
portions to which this block is to be joined. Cut the material of the 
side forms and under arm forms very much larger than the lining of 
same, to allow for matching. 

To join the Round Back Seams. 

First baste the lining to the material of the back forms, then 
baste together the centre back seam, matching the plaids. Mark 
the waist-line. Now take the material only (not linings) of the side 
back forms, and join them to the back forms, basting on the outside 
of waist, along the line of basting matching the plaid or stripe as 
you baste, making a perfect block or straight line. The joining 
should be slight oversewing ; but a firm stitch must be taken on each 
stripe or plaid, being careful not to take the stitches deep, but to 
hold the goods securely in place, barely catching the goods on the 
outside of the side forms, and taking stitches through to the bast- 
ings on the lining of the round seams of the back forms. 

Now place the waist-line of the side back form lining to the waist- 
line of the back form, and baste in the usual way, having tracings to 
meet tracings, and lining to come out even at the arm size. Baste 
from the waist-line to bottom of basque, then smooth the material 
over the lining of side form, and baste the lining to material on the 
side seam, wrinkling the lines as usual. Take out bastings, and 
notice that the lines are not broken. Fit the under-arm forms of 
plaid or stripe to the side back forms in the manner described above, 
then join the under-arm form to the front. In basting the bias dart, 
have the stripe or plaid the same distance from the seam on each 
side of the basque. 

NOTE. 

Wrinkle the lining slightly, just as you would in basting an ordi- 
nary waist. 

These directions are given for joining the seams of plaid waists, 
but the prevailing mode of cutting is to have the back in one piece. 

The beauty of a plain, perfectly fitted waist is something that can 
never be denied. While full fronts without darts, full backs, and so 
on, are fashionable, yet the woman who is in the least inclined to 
plumpness can always with perfect safety wear a close-fitting waist, 
with back form seams and darts on the outside material, with per- 



20 

haps a little fulness or a few fine plaits at the centre front to cover 
the fastenings, and having narrow revers as a trimming. Still, in 
these days, when the one piece back and front, the full gathered and 
plaited, waists are so fashionable, it may be well to give directions 
for making those waists. 

A few suggestions may not be out of place concerning the waists 
most commonly worn. 

Before cutting your waist, get a good-fitting pattern. Select the 
diagram which is nearest in figures to your size. Trace out all por- 
tions exactly as directed. Cut from common silesia or cambric a 
pattern, baste together, and fit it to the figure : then rip out half of 
the pattern. Cut one sleeve by diagram, baste, fit it, and rip the 
seams of same. Be assured that the pattern fits the figure, and cut 
your lining by this silesia pattern (never by the paper diagram). 
This takes a little more time ; but such a pattern will prove of ines- 
timable value, saving a great amount of refitting and changes in 
making the waist. 

To make a Waist with a Narrow Vest with Two 
Box Plaits on Either Side. 

Cut the waist by Chapter I., Section i, with the lining fastening 
down the centre front, having the goods left full on the outside of front. 
Cut the vest of velvet, or whatever trimming you are using, line with 
crinoline and face with silk, and then baste ; and fasten, sewing it to 
the right hand side of the lining. Then form the extra fulness of 
outside material into a box plait on either side, running from the 
junction of the neck and shoulder, making plait to taper at the waist- 
line. Finish the bottom of waist, and hook the vest on the left side 
under the plait. Another way to use the extra material is to gather 
it at the shoulder seams, and draw the goods into fine plaits at the 
centre front. 

To set a Yoke into a Full Gathered Waist. 

Cut waist lining in the usual manner. Have outside material very 
full back and front, but fitted on under-arm seams. Turn the outside 
material down, and baste the yoke to lining. Gather the outside ma- 
terial to the yoke. A waist made in this way should have a yoke of 
silk with two or three fine plaits through the centre, and may be 
overlaid with heavy lace, the points meeting at the centre front. 
Velvet ribbon or any other trimmings may be added. 



21 



To set a Yoke on a Plain Waist. 

Cut the lining and outside in the usual manner. Fit, stitch, and 
press all but the shoulder seams. Then cut the yoke of silk or lace 
or both (without seams in front and back), the size of your waist 
and the length desired. Line with crinoline and face. Open the 
shoulder seam. Baste the back yoke to basque, making it smooth 
on the same. Then baste the front of yoke on the right side of 
waist at the arm size and on the shoulder and around the neck. Face 
the left arm size and shoulder of yoke, sew on hooks, and trim with 
ribbon or any way desired. 

To make a Waist, Full Back and Front, over a 

Fitted Lining. 

Cut the lining in the usual manner. Baste the centre seam of 
back forms : join to these the side back forms. Cut the outside ma- 
terial very full, back and side form in one picce^ shape to lining at 
the side seam and on the shoulders. Baste the centre of the full 
outside material securely to the centre of the lining. Gather it 
around the neck, and have the fulness drawn down in fine plaits at 
the waist-line. 

Cut the material of the front by the lining, making it very much 
broader on the front. Baste lining to material on the shoulder, 
around the arm size, on the under-arm seam, and to the French dart, 
zurinkling the lining on the material. Take up the front dart in the 
lining, and join the seams of the waist as directed in preceding chap- 
ter. Gather the full outside around the front neck, and draw the 
waist-line fulness into fine plaits at the centre front. Point waist 
back and front for a large figure. 

Directions for Cutting Broadcloth, Velvet, Flowered 

Materials, or Goods in any Design which 

are not Reversible. 

Cut two pieces of the goods for each portion the desired length 
for basque or skirt. Fold them together, having the flower, design, 
or grain of the cloth of both pieces running the same way. Then 
place the lining on, and cut out. Economize as much as possible 
by using up the small pieces for the under-arm forms, etc. 



22 



Directions for Cutting a Waist without Darts show- 
ing on the Outside and with Back and Side 
Back Form in One Piece. 

Cut the lining as for a tight waist. Baste the material on the 
under-arm form as directed in section on basting. Cut the outside 
goods for back and side back form in one piece. Allowing as much 
fulness for centre back as desired, baste the seam of lining at centre 
back, also baste the side forms to back forms of lining. When this 
is done, baste the full outside material of the lining at the side 
seams, being careful that }ou have the goods tight on the lining in 
basting, also at the shoulder seam. Gather the extra fulness of 
cloth at the back neck, first finding the centre, and basting it to the 
centre seam of lining, then plait or gather the goods into a small 
space to the lining at the bottom of the waist. 

To baste the front, cut outside material in the usual way, baste 
to the lining at the arm size, on the side seams, and on the shoulders, 
using the same precaution in basting the seams as for the ordinary 
waist. When fitted, stretch the outside material over the figure, 
and make into fine plaits at the bottom of centre front. Gather or 
fit the cloth smoothly to the lining around the neck, join the por- 
tions, and finish as directed in chapter on waist finishing. 

I would advise the pupil not to attempt to make a front in this 
style except of a thin or some soft clinging material which will lend 
itself readily to the curves of the figure. 

A stylish waist, and one which will be found particularly becom- 
ing to slender and medium-sized figures, is made of silk fulled back 
and front over a tight lining, and covered with lace or some thin 
trimming gathered on the silk. For evening wear any gauzelike 
fabric may be used for the bodice, made very full and drawn tightly 
down at the waist-line. For day or evening wear a belt and collar 
of rich passementerie may be added. The sleeves can be made of 
same material as skirt. 

To cut a Back without Centre Seam on the Out- 
side, with Fine Waist-line Plaits. 

Place the tracing oi lining at the junction of the neck and centre 
back seam on a folded edge of the material. Draw the lining at 
the waist-line about i inch or a little less away from the folded 



edge, and shape material to the lining on the shoulders and on the 
round seam. 

Join the centre back seam of the lining, and baste it to the goods 
at the shoulders and on the round seam. Baste the centre or folded 
edge of the material to the centre seam of lining, wrinkling the 
lining, and form the waist-line fulness into two small plaits on either 
side, having them to meet at centre back. Stitch and press the 
plaits, and join the side back form to the back form. 



SUMMARY. 

When cutting outside material of side back forms, the line for 
tracing should usually cross the grain of cloth ; that is, slant away 
from the straight thread about 3 inches at the waist-line, and have 
the I inch seam at the arm size of the portion. 

If you wish to economize in cutting, follow strictly the rules. 

Make changes in the size of waist on the under-arm seams. 

The upper and lower corners of the upper sleeve portion should 
touch a selvage or straight thread of the lining and outside material. 

Have the latest sleeve pattern by which to cut the outside ma- 
terial. 

Notice the position of the pattern on Diagram I., and place the 
portions of lining on the material in the same manner. 

Leave each portion of lining and goods folded together as they 
were cut out, and prepare to baste the waist. 



CHAPTER II. 



BASTING. 

Section 1. Preparing to baste Lining to the Material. 

Commence with fronts. If lining and material are folded right 
side out, take up both together just as they were taken from the 
board when cut out. Number them i, 2, 3, 4. Place them on cut- 
ting board or table with the lining on the upper side. Having the 
shoulder and neck toward the right hand, then take the outside 
piece of material, place it to the outside piece of lining, i to 4. 
This portion of the front is correct for basting. Now take the two 
inner pieces (lining and goods marked 2 and 3, which will be wrong 
side out), and reverse them, — that is, turn the side which is in, out, 
— and place together, and you have both fronts ready to baste. Pre- 
pare each portion of the dress in the same manner. 

If material is folded right side in, as is often the case with novel- 
ties, broadcloth, and some other goods, take lining and goods to- 
gether as cut four double. Mark i, 2, 3, 4. Take the outside 
piece of lining and inside piece of goods, i and 3 : do not change 
the position, but place them together. These portions are correct 
for basting. Then reverse the two remaining pieces, 2, 4. This 
may seem to the pupil a long way around a simple thing; but it can 
be quickly done, and there is never any danger of getting two 
pieces of the basque for one side. Besides, goods very nearly alike 
on both sides often show the difference in wearing. This will be 
found a safe way, and saves twisting and turning the goods about, 
and, after all, often getting a portion wrong. 

The fronts are now ready for basting : prepare each jDortion in 
the same manner. Always prepare the corresponding portions of a 
waist before you begin to baste. 

Section 1\ Basting the Lining to the Material. 

Take one of the front portions (lining and goods), place on board 
in the usual position ; that is, lining on upper side, with neck and 



25 




DIAGRAM III. 

Showing how lining should look when correctly basted to the outside. 



26 

shoulder toward the right hand. Have the side seam, arm size, and 
shoulder of lining and goods laid evenly together. Run a basting 
across the top of darts from front to arm size. Commence at top of 
front darts, and baste down on the traced line of dart, nearest the 
front. Have bastings i inch in length on upper or lining side. 
Take up just enough cloth on under side to hold lining to goods. 
As you baste, wrinkle the lining ; that is, puff lining under each inch 
of thread or basting just a little, having the wrinkles a little fuller 
as you near the waist-line. Slightly full all the way to the bottom 
over the hips. When finished, the material or under pieces of your 
work should come out f of an inch below the lining. Wrinkle each 
traced line in the same way. Run a basting across the tracing at 
waist-line. Drop the shoulder of lining J of inch below the shoul- 
der of material, baste the same also around the arm size, taking in 
the extra fulness of lining, which will be very little. Do not baste 
the lining to the goods down the centre front seam nor around the 
neck. Run the basting thread evenly on the tracings. When cor- 
rectly basted, the lining should be evenly but slightly puffed, not 
enough that plaits will form in the seams when stitched together, 
but so that all fulness of lining will stretch out on seams in basting 
the waist too:ether. 



Sec Dias'ravi No. III. 



NOTE. 



Prepare each portion by Section i, and baste each portion by 
Section 2. 

Rule i. Baste from the top or upper part of waist portions 
down ; and the neck or arm size, or whatever is the upper end of 
portions, should invariably lay toward the right hand, with lining up. 
This is the correct position for basting the lining to the material. 
Do not twist your basting, but run straight down the tracings. 
Notice the way in which the needle is placed into the work in tak- 
ing each stitch. 

Section o. To baste the Waist together. 

Baste the front dart from the top down, very slightly stretching 
the back; that is, the further line of tracing from the front. Hold 
the bastings exactly together, run fine stitches, making a triple 
basting through the double tracing. Another way is to baste the 
darts from the waist-line up. In basting the back or French dart 
slightly stretch doiviiward t\\Q. back or bias side of the seam. 



27 



Section 4. To baste the Front Side Form to the 

Front. 

Commence at the waist-line, fasten the waist-Hne of the front 
securely to the waist-line of the side seam, and baste up, keeping 
tracings of the portion exactly together, and having both pieces to 
come out even at the arm size. This is a rule which should be 
closely observed, because a waist is likely to twist if not basted to- 
gether so that waist-lines meet and the ends come out even. It can 
be easily done by using a little precaution when joining the seams. 

Caution. — The side held next to you is always inclined to pucker. 
To avoid this, keep it even with the side from you. Make close, fine 
stitches, and have the end of the seam in view from the time the 
first stitch is taken until the seam is finished. Then baste the hips 
from the waist-line down, I't-rj' slightly fulling {A) the line of front 
portion A. This is important. By so doing, you will avoid having 
wrinkles at the waist-line of front side form by stretching that piece 
of the waist. 

See Diagram /., Figure A. 

NOTE. 

It is hoped that the pupil will not exaggerate this slight fulling 
and stretching, and by so doing get the waist out of shape. Re- 
member that it means only slightly stretched and fulled. 

Section 5. To baste the Back Form together. 

Fasten securely the waist-line of the two pieces together at 
centre back. Run fine basting up to neck, having the seams to 
come out even at the top. In basting, always keep seams even on 
the surface ; that is, pull the seams a little tight, and smooth out 
each needleful of stitches as you go along, so that basting will not 
pucker the seams in the least. On the right side of waist the 
work should simply show the line, but not a stitch which has been 
taken. 



28 



Section G. To baste the Side Back Form to the 

Back Form. 

Begin in the usual way at the waist-line. You will find this the 
most difficult seam of a basque to baste correctly, but by closely 
following rule in section on basting waist together it can be 
accomplished successfully. As a further precaution, I will repeat 
the directions. After having fastened the back and side form se- 
curely together at the zvaist-linc (marked on the back form of 
Diagram I.) baste from this point up to arm size, holding tracings 
and bastings together. Have both sides of the seam even, and 
watch the end of the seam all the time you are sewing. There 
must be no full places on either side of the seam, and it should 
come out even at the arm size. If it will help any, you may fasten 
the waist lines together, pin the seam at the top evenly and in two 
or three places below. Then baste from the waist-line up, and from 
the waist-line to bottom of basque. 

If basque is cut with a double under-arm form for a large figure, 
baste the extra side piece to the front side form by Section 4 of this 
chapter (see rule for basting the front side form). 

Section 7. To baste the Under-arm Seam. 

Commence at the waist-line. Baste on the tracing to the arm 
size, having the ends come out even. Then commence at the waist- 
line, and baste over the hips, very slightly fulling the portion of 
front marked A (below the hips only). It being gored more than 
the side to which it is to be joined, it is likely to stretch, while 
we wish to keep perfectly smooth, especially at the waist-line, the 
under-arm forms. Of course, the difference in holding A, in closing 
this part of the seam, should be the merest trifle. Perhaps in bast- 
ing the hips of a short basque, that portion of the line which is 
lettered should be held about -{\ of an inch fuller than the side to 
which it is to be sewed. 

To baste the Shoulder Seam. 

Slightly stretch front of shoulder B into the back. If there is the 
least e.xtra cloth on this part of the seam, which comes from drawing 
it tightly, have the surplus come out at the arm size on both shoul- 
der seams. 



29 

Except for very large busts, take up a small V in the lining at the 
top of the darts, having the seams come next to the outside material. 
Srr model. 

Section 8. To baste the Sleeve. 

If the outside is large, and cut in one piece, first baste the outside 
seam of lining together, having the seams come on the wrong side 
of the lining. Stitch the same, and baste a bias piece of canvas or 
heavy crinoline, about 3 inches in width, across the wrong side of 
the sleeve lining at the wrist. Then baste the outside material on 
smoothly (to elbow), having the finished side of lining so that it will 
come next to the arm, with the seam and canvas next to the 
material. Also baste from the elbow up, folding the fulness of out- 
side in on lining. Then baste the inside seam of the sleeve from 
the elbow down to wrist and from the elbow up to arm size, turn 
sleeve. In finishing, gather or plait the full outside material to the 
lining. If the lining is full for arm size, gather it on the upper por- 
tion, and baste to outside. The inside seam of a sleeve should be 
basted so that it will not twist on the arm. 

If gathered at the elbow, see that the gathers come just in the 
right place a little below the elbow, so that the sleeve will feel com- 
fortable when on the arm. 

NOTE. 

"When making other styles of sleeves, sew the material and lining- 
together, and do not baste the bias grass cloth to lining until the 
sleeves are stitched. 

Your attention is especially directed to the illustrations. Please 
bear in mind that these are made from actual work. The gown hav- 
ing been photographed at different stages of the making, the striped 
silk and wool material was adopted to show the grain of the cloth 
and to more clearly illustrate the lessons in cutting. The style 
chosen is a neat and dressy toilette for almost any occasion. There 
were used, in making this dress, 6\ yards of goods, li yards of silk, 
and I dozen yards of narrow braid ; and I assure you that we had 
an abundance of material. Of course there was not a great quantity 
left over; but there was sufficient for a gown for a lady measuring 
44 inches bust, with skirt 42i inches in length and 52 yards around 
the bottom. 




DIAGRAM IV. 

Showing the sleeve lining ready for the full outside. 



31 



SUMMARY. 

The tracings and bastings which secure the lining to the outside 
material, and bastings which join the waist, should all meet in one 
line when the waist is ready to try on. 

In basting, run all threads straight on the tracings. 

Watch both sides of the seam in working. 

Slightly stretch dozviiiuard the bias side of the French dart. 

Cut as directed, and, following the instructions given on the dia- 
grams, have the front edge of every portion toward a straight grain 
of the cloth. 

Always have corresponding portions of the waist exactly alike. 
Do not work in a careless manner. One must practise being precise 
in every detail of the work. 

Baste hips from the waist-line, slightly fulling that portion of line 
marked A. 

The desired effect in basting is to have the work smooth, except 
the puffed lining, which must not form fine plaits on the seams of 
lining when basted together. 

Do not pucker the side held next to you in sewing. 

The right side of a basque, when properly basted, should not be 
drawn in the least. 

Observe carefully the section for basting the difficult round seam 
of back. When basting the lining to the outside, your work should 
lie in such a way that the neck, or whatever is the upper end, will be 
turned toward the right hand. 

Always have the bulk of the work in your lap, with seam only be- 
tween thumb and forefinger of the left hand. 

In joining the seams, fasten the waist-lines securely together, and 
baste up to arm size or neck. All portions, when finished, should 
come out even. 

In basting the lining to goods, there should be a very slight in- 
crease of the fulness at the waist-line. Take up very little cloth on 
the under side, making the stitches i inch in length on the lining, 
which is the upper side in basting a basque. 

Allow seams the usual width. Baste by rules for basting. Try 
the waist on, and stitch all but shoulder and under-arm seams. 

When you are sure that your basque is right, finish stitching, and 
proceed in the ordinary manner to finish. 

Notice the mark on arm size of waist, at which the front seam of 
sleeve should so. 



32 

Baste the sleeve from the elbow line to top and from elbow to 
wrist, gathering the outside seam of upper portion below elbow. 

In basting, fasten securely the ends of thread, to keep the work in 
place. 

NOTE. 

Bear in mind that zanist-Wne. to zadis^-line: means just what it 
reads. The waist-line of a portion must be fastened securely and 
exactly to the waist-line of the portion to which it is to be joined, 
and the cross on front of lining must meet in marking for hooks and 
eyes. The least carelessness in doing this part of the work will 
cause the waist to twist, which you will find almost impossible to 
remedy after the bastings have been taken out. 



CHAPTER III. 



Section 1. Fitting the Waist. 

Try the waist on right side out, turn all seams (except the back 
bias) toward the front before fastening the waist. Stand squarely 
in front of the person whom you are fitting, and with both hands 
pull the waist down at back, so that it will fit in at the back ivaist 
to the figure. Then tightly draw together both edges of the lining 
in front. Commence at the neck, and pin evenly together down the 
front. Having the 2 inches of selvage, which was left beyond trac- 
ing on centre front, between the fingers of the left hand, pin with 
the right, allowing curve over the bust, if necessary, and gradually 
take up more of the goods as you near the waist-line (the edges of 
the front will be on the outside, forming two small frills at the 
centre). While pinning the waist, pull it down on the back seams, 
take hold of the front neck, pull it up, and get it set to the figure 
and pinned as tightly as possible before you attempt to make any 
changes in the fit. Take notice of the alterations needed, and place 
pins for same. 

Section 2. Some Alterations which may be needed. 

The basque may be a little short-waisted at the back. If so, when 
taken off, baste in the centre back seam, beginning on the origi- 
nal basting 4 or 5 inches above the waist -line according to the 
amount of cloth to be taken in, and slant or curve very slightly the 
basting from the 4 inch mark above the waist-line to the length 
you desire the waist at back. Or, if you wish to take in a certain 
quantity of cloth below the waist, on the seam, gradually slant by 
drawing your basting thread straight down from the original line to 
where you wish to make your new waist-line. Run the basting 
straight with the thread, then gradually curve out from waist-line 
over the hips, but not in such a manner that the seam will flare at 
the bottom or that the shape of basque will be changed below the 
hips. Change side seams in the same way, being careful not to 



34 

have your alteration make a patched or broken line. Tlierc may be 
some fulness under the arm at the arm size. If so, take up the frojit 
under-arm seam as you did others, slanting to the original line. If 
the waist is large or small, change on this seam. The neck may be a 
little large. If so, baste in on the shoulder, beginning at about the 
middle of the shoulder on the seam, and take in the desired quantity 
at the neck. 

If the neck is too high, trim out a little, but not as much as you 
think is really needed, because the goods may ravel. If it still 
binds, clip in three or four places on each side of the neck, leaving 
the frayed edges on until you are ready to finish off for the collar. 

Trim off a little around the front arm size if necessary ; and, if it 
still binds the arm, make small clippings. 

If the darts are high, lower them a little by letting out the shoul- 
der seam or by sewing about i inch from the top of darts, but do 
not change the shape. In making all alteration, endeavor to pre- 
serve the original curves. 

If there is too much fulness from the tops of the darts to the 
shoulder, take up on the front shoulder seam. If also full at the 
back, take up on the seam both back and front. Then trim 
the seams a little, — that is, even them, — and cut off dart seams (not 
close). Try the waist on again. (See Section i, for putting on 
the waist.) If it is right, stitch from the upper end of seam 
down a perfectly straight line on the correct basting. Stitch all 
seams e.xcept the front under-arm on each side. Leave these open 
until you have tried the waist on again. 

As the basque is a little smaller after it has been stitched, if nec- 
essary, let the side seam out a trifle parallel with the basting by 
running a second basting about i of an inch from first one. If all 
right, stitch this seam. In taking the waist off, as you take each pin 
out of the front, place it back in the same mark on the right side of 
the lining as a guide for the fastening. 

Immediately after the waist is taken off, run a basting along the 
line of pins and on the opposite side along pin-holes. Then turn the 
fronts in, having the distance from the first dart to the line of bast- 
ing for centre front (which is button space) the same on both sides, 
with the thread on the edges of the front. When finished, these 
bastings should meet down the front with hooks or buttons, equal 
distance on either side from front darts to centre front. 

See Diagram V. 

I would advise the pupil to keep in mind a perfect figure, and not 



35 




DIAGRAM V. 



Showing the waist basted togetlier. The Unes mark the lengthwise 
thread of the goods. 

When pinning on the figure, have the cross on the fine of centre front to 
meet cross on the opposite side. 

Stretch front part of shoulder seam otily in joining. 



36 

in any case to give up your model for the figure you have in hand, 
but to make the same perfect and tapering lines for every one. Of 
course, you must have broader space between the seams of a large 
than a small basque, but never change your principle of cutting 
and fitting; namely, darts and back form seams tapering toward the 
centre of waist-line back and front. 

If necessary, make larger under-arm pieces ; and for large figures, 
add the extra side form. 

The prevailing fashions seem to be invented for slender figures, 
and dressmakers are, therefore, giving special attention to the fash- 
ioning of apparel for stout, short-waisted persons. 

It will be well for the young dressmaker to bear in mind that her 
success lies in making short-waisted women appear longer-waisted, 
in making very full figures look as slim as possible, and, in fact, to 
make shapeless people appear shapely. It certainly is in the power 
of the fashioner to do this ; for, by selecting suitable materials, 
colors, and designs, with a correct knowledge of fitting and trim- 
ming a gown, the reigning style may be retained, and yet rendered 
becoming to all figures. 



NOTE. 

Fit the waist snugly across the back from armpit to armpit. Do 
not make the basque narrow across the shoulders, but have it fitted 
sufificiently tight to hold them well back and the figure erect. This, 
with seams tapering toward the centre back and front at waist-line, 
gives the much desired effect, really beautifying a shapeless figure. 



Fitting the Sleeve. 

Try the sleeve on, stitch the seams, and pin into the arm size. 
Having it fitted comfortably on the arm, pin the front seam to 
basque. Also pin the back seam of the sleeve to the basque. In 
putting in the sleeve, you can see whether or not the waist is too full 
at back of arm size. If so, trim off just a little, and again pin the 
back seam of sleeve to the waist. 

Before taking out the sleeve, mark the place where the front and 
back seams come on the arm size ; and, when finished and ready to 
sew in, baste in the sleeve, with the seams coming to these marks. 

Take all bastings out of the seams of the waist. Trim the darts. 



37 




DIAGRAM VI. 

Showing the sleeve, with the full outside basted to the fitted lining. 
When style of sleeves changes buy new pattern of outside, but cut the 
portions by the directions given, always using the fitted linings. 
Notice the way in which the grain of the cloth is cut. 



38 

allowing a 2 inch seam. Cut centre back and round seams the same 
size. Allow I inch on shoulders and each under-arm seam. Scallop 
seams on the waist-line, and in two or three places above and one 
place below, about lA- inches apart. 

Srr Diagram VII. 

When finishing the waist and sleeve around the arm size, the 
frayed edge should be trimmed off until perfectly even, and the 
seam, which will be quite thick, held closely together and carefully 
overcasted, clipping off all ends as you sew, making a neat finish. 
Even should you wish to bind the seam, it will be well to first over- 
cast it. 

SUMMARY. 

Turn all seams (except the back bias) toward the front, when fit- 
ting the waist. 

Fasten the waist on the person as tight and smoothly as possible 
before attempting to make any changes. 

Always fit right side out. 

Be sure to smooth the waist well in at back, and take out all 
wrinkles, especially over the hips. 

In making changes, sew from the original line, as though it had 
not been altered. 

Never make a broken or patched line. 

Let all alterations be either a straight or a curved line, beginning 
on and running from the original seam, as though it had not been 
changed. 

Do not make the waist so tight as to change the lines. 

The darts should come quite near the front at the waist-line. 

Have the bastings marking for hooks and eyes meet at the centre 
front. 

Have the distance from the front dart to the centre front the same 
on both sides. 

Stitch the waist from the top down on all seams. 

When stitching the darts, commence at the top, and run on the 
very edge of the cloth for three or four stitches, to avoid having 
points. 

When fitting, pull the waist up at the neck and over the bust. 
Draw it in closely to the figure at the waist-line at back, and pin 
evenly from the neck down the centre front. 

If the waist is too tight, change it on the front under-arm seam. 



39 

Do not try to let it out on the centre front, and so give the figure 
that flat appearance which is so undesirable. 

Fit the basque snugly across the back from armpit to armpit. 
Allow sufficient width across the bust, and fit it closely around the 
neck and over the shoulders. In finishing, leave the neck quite 
high (not enough to wrinkle), and set the collar a little below the 
neck of the waist. 



40 




DIAGRAM VII. . 

showing- the waist pressed ready for binding. 



CHAPTER IV. 



Section 1. Pressing and Binding. 

To press the darts, lay the waist on the edge of the board, with 
the same opened flat. If the material will bear water, moisten a 
small cloth and run it along line of stitching before pressing. Press 
from the bottom up, being careful to run the iron to the top of the 
darts so as not to make a point. 



To press the Under-arm Seam. 

Turn the basque so that the neck will be toward the right hand, 
and press from the arm size to the waist-line, being very careful to 
have the seams laid smooth on the board, and press a straight 
line. 

Keep the waist in the same position (neck toward the right hand), 
and press centre back seam from the neck down to the waist-line. 
Press the round back seam from the arm size to the waist-line, being 
careful not to change the shape of the curve. 

Turn the waist, having the bottom toward the right hand, and 
press the hips from the bottom up on all seams. Then press the 
shoulder. 

Caution. — And let me add here pressing does not mean ironing. 
Do not iron waist, but press carefully all the seams open, and have 
them perfectly straight on the board. Do not allow the point of the 
iron to strike any place. Have the board covered thickly, so that the 
goods will not shine on the right side, when finished. 



Section 2. Binding the Seams. 

Begin on the face or cloth side of the seam. Commence to sew the 
binding on darts, beginning an inch from the bottom of the waist. 
Stretch the edge of the seam as you sew, smooth out each needle- 
ful of finished work, turn binding" at the top of darts (allowing a suf- 



42 

ficient quantity to turn without drawing the waist in the least), then 
run the binding down on the other side of the seam in the same way 
to within an inch of the bottom of the waist. 

Bind the seams, stretching the edges and carefully binding around 
the scallops, so that the seam will lay perfectly flat when finished. 
In binding the round seam, stretch the side of seam belonging to the 
centre back, — that is, the part turning toward the centre, — and bind 
loosely, so that the seam will not draw, but will lie smoothly from the 
arm size down to end of basque. The other side of the round seam 
is full, and so may be easily bound. 

Bind the back seam of shoulder on the sJiort ends as well as on 
edges, so as not to leave unfinished ends on the neck and at the arm 
size. Bind the front part of the shoulder seam on the edge only. 

To trim the bottom of the waist before sewing on the bone-casing. 
Pin the waist together on the front at the bottom, pin also together 
the corresponding seams on opposite sides at the bottom, and cut the 
waist the desired shape and length. 

Section o. Putting on the Bone-casing. 

Lay the casing over the centre of seam, allowing the end of same 
to come an inch above the tops of darts. Begin to sew on at the top 
of darts, and wrinkle all the way down, having the casing exactly on 
the centre of the seam. On a medium size basque begin 2 inches from 
the arm size to sew casing on the under-arm seam, 4 inches from the 
arm size on the round back seam, and 7 inches from the neck on the 
centre back seam. Wrinkle to the bottom, smooth out each needle- 
ful of finished work as you go along, so that, when bones are sprung 
in, the stitches will not break. 

See Diagram VIII. 

Section 4. To mark for Hooks and Eyes. 

Baste the edges of front line together from the neck to bottom of 
waist, having the ends even. Mark with bastings about i inch apart 
on one side : mark the other side by that. (Have marks opposite one 
another on the sides of front.) Take out the first basting thread, — 
that is, the one holding the fronts together, — and your waist is ready 
for fastenings. In sewing on the same, see that each one comes on 
these marks. 

If buttons are to be used, the buttonholes should come opposite 



43 




DIAGRAM VIII. 

Showing the waist bound, and with casing on, with thin canvas or 
grass-cloth around the inside of bottom. 



44 

the marks on one side, and on the other side the buttons sewed on 
the marks, with 2 inches left out for a fly. 
Sec Diagram IX. 

SUMMARY. 

The seams should lie perfectly flat when trimmed and open for 
pressing. Trim the three back seams 2 inch in width, scallop at 
waist-line, and two place above and one below, about an inch apart. 

Clip the dart seams so that they will lie flat and smooth on the 
waist. Press from the neck to the waist-line, then turn the waist, 
and press from the bottom to waist-line. 

Shape the basque on edge at the bottom before sewing on bone- 
casing. 

Keep the casing exactly over the centre of the seam. Do not 
draw your work. The binding and bone-casing should be put on so 
as not to affect the outside of the waist in the least. Looking at the 
outside of the basque when finished, you ought not to perceive that 
a stitch had been taken on the inside. 

Caution. — Press carefully and smoothly every part of the work 
as you are doing it. Nothing makes a dress look so "home-made" 
as lack of pressing. When you press a seam, make it as smooth 
and flat as you possibly can. Never have the goods to shine on the 
right side. Of course there are a few exceptions in working on 
silk and some other materials. Do not press as much nor with as 
hot an iron as you would in making a heavy cloth gown, but press 
all work sufificiently well to make seams lay smooth. 

Press the darts from the bottom up, the under-arm seams from 
the arm size to waist-line, and the centre back seam from the neck 
to waist-line. 

Press the round seam very carefully, and do not change the shape 
of curve. 

When pressing the darts, do not let the point of the iron strike 
the upper end so as to change the bust curves, but make this part 
of the waist to look as nearly as possible like one piece of cloth 
drawn smoothly,, but not tightly, over bust. 

When sewing on the binding, hold the material next to you, and 
bind the seams around the scallops loosely, smoothing out each nee- 
dleful of finished work as you sew. 

In sewing on the bone-casing, place it over the centre of the 
seam, and wrinkle it all the way to the bottom of waist. 



45 



Section 5. To plait up Extra Material on the Front. 

After marking for hooks and eyes, lay in fine plaits the extra 
cloth left out on the front. The plaits should be not more than J of 
an inch in size from the bottom, at the waist-line, and for some dis- 
tance above waist-line. Having first plait laid just a trifle over the 
edge of lining, make them to gradually broaden up to the bust. 
(Make four plaits on each side, if goods are medium weight, or, if 
very heavy material, have less cloth allowed on the front. Make 
only two or three plaits.) Take up all the extra cloth on both 
sides in this way, using care not to make the outside fuller or 
tighter than the lining. Baste firmly over, stitch plaits nearly to 
the bust line, leave upper fulness to be gathered or made into 
broader plaits. At the neck the goods should be brought smoothly 
up from the stitching and even with the lining, but not drawn. See 
that the cloth is all brought over smoothly from arm size and the 
neck, as if front of basque were plain, having fulness in centre 
front only. This is a neat finish, covering the fastening of hooks 
and eyes. This front may be trimmed in any manner desired, with 
lace or velvet revers or bands of ribbon. 



Section 6. To make a Diagonal Front without Seam 

in Centre. 

Turn the right side of goods back, having the folded edge even 
with the centre front of the lining. Pin in place and shape off, be- 
ginning at the bottom of waist at the front or first dart, cutting the 
front broader as you near the shoulder. 

Trim out the neck a little higher than lining. Cut the shoulder 
a little high, so it will just meet the seam when finished. After 
basting inside a piece of thin canvas or other stiffening, which 
should reach almost to the first dart on right side and to the junc- 
tion of the shoulder and neck on same side, face by basting silk on 
the right material side, and stitching close to edge, and turn over 
and finish. Or, before putting on silk facing, baste edge over, sew 
down to canvas, and then baste the silk on, and hem on the outer 
edge. Baste and stitch the left side of the front even with the 
lining:. 



46 




DIAGRAM IX. 

Showing the front marked for hooks and eyes, and thin canvas basted to 
lining at the bottom of waist. 



47 



NOTE. 

If you have decided upon a diagonal front, when you are cutting 
the waist, shape the right side, and baste in canvas lining before 
seaming the front darts, having the lining to sew in with the dart. 
For very stout figures it is sometimes necessary to have a seam 
through the centre front, curving over the bust. Fasten the waist 
on the person after sewing the hooks or buttons on lining, and pin 
the side fastened to waist smoothly over to the left, and mark for 
hooks while the waist is on the figure. 

The front may be trimmed with box plaits about 2 or 2^ inches in 
width, beginning at shoulder and gradually tapering as you near the 
waist-line, or with tiny folds of silk, passementerie, or other material. 

Section 7. To make a Front with Plaited Vest 

and Revers. 

A pretty mode, especially for stout people, is to plait a contrasting 
shade of silk through the centre. Plait the silk as described in Sec- 
tion 5. Shape the revers from the extra goods left on the front, 
making them narrow at the waist and gradually broadening to the 
desired width at the top. Put in a lining of stiff canvas, the grain 
running the same as the cloth, and reaching back nearly to the first 
dart and to the junction of the shoulder and neck at the top. Now 
face your revers with silk or velvet, and turn them toward the centre, 
and fasten on the outside from the junction of the neck and shoul- 
der and tapering toward the centre of front, barely showing the four 
little plaits of the vest at the bottom. Turn the revers back, and 
the basque is ready for facing. Or the revers may be cut separately 
of silk or velvet, shaped as described above, and the unfinished edge 
stitched. Stitch them to the basque, beginning at the junction of 
the neck and shoulder and tapering almost to a point at the centre 
front of bottom of waist. Revers may be made of silk or velvet, and 
the edges decorated in any way desired. 

See Diazrani X. 



48 




DIAGRAM X. 



Showing the revers, with canvas stiffening basted on inside ready for 
the silk facina". 



49 

NOTES ON FINISHING. 

Section 1. To face the Bottom of the Waist. 

It is of the utmost importance, in order to secure an easy fit about 
the hips of a short basque, to slightly stretch the bottom. No rule 
can be given with regard to the amount of stretching : the correct 
taste of the dressmaker or pupil must determine that. Cut a bias 
piece of thin canvas, i^V inches in width. Lay the waist on the lap, 
lining side up, with the bottom edge in the left hand. Commence 
on the right side of the front away from thick plaiting on centre, and 
baste the canvas to lining of waist on the bottom, having canvas 
a little full. Stretch the seams as you come to them. Baste the 
stiffening securely, top and bottom, to lining, cut it at centre back 
seam, then stretch in same manner on the other side of waist. Slip 
the material down, and baste it to the edge of lining and canvas. 

Cut a silk facing 2 inches in width, baste it smoothly on outside 
of basque even with the edge (be sure that you have a neatly curved 
edge without points at seams). Stitch the facing on. Then 
holding basque in the left hand, commence at the right side of the 
front, and turn the facing up a little over the edge, baste on the 
seam or thick edge, and have the bottom of waist an unbroken 
curve. Do not finish the facing at the top until you have put in the 
whalebone or steels. Another way is, after basting in canvas as 
directed, hem up lower edge of the waist to same, and baste outside 
facing along edge, and hem on bottom. Then hem the upper edge 
of facing. This is a good way to face waist in using covered steels 
instead of bone-casings and bones. 

Sec Diagram XI. 

Section "1. To sew on Hooks and Eyes. 

Sew hooks on the right side, i of an inch from the edge of lining. 
Even if the outside goods is plaited beyond the edge of the lining 
just a trifle, you will guide hooks by lining. Sew hooks opposite 
the marks. 

Sew the eyes over the marks, having half the loop over the edge 
of lining. To cover the stitches in sewing on hooks and eyes, cut 
off a little of the lining on the side of hooks, if necessary, and hem 
the remainder over the inside or spring of the hooks, covering all the 
stitches. Hem the lining even with the edge on the other side of 



50 




DIAGRAM XI. 

Sliowing the outside of waist pressed and bound, with outer facing- 
basted on. 



51 

the waist, having half the loop of the eye to come out beyond the 
edge, or you can hem tape along both sides of the front to cover the 
sewing. 

Section 3. Putting in the Bones. 

Slip bones in every seam or casing, then hem up the upper edge 
of the facing, spring the bones into the waist as tightly as possible, 
and turn the end of bone-casing over the bone, fasten, and then sew 
on both sides firmly to the seams of the waist. 

To put in the Belt. 

Find the centre of the belt, sew to the centre back seam of basque, 
having the lower edge of belt to come on the waist-line. Fasten with 
buttonhole twist, making some kind of a pretty stitch. Sew again 
on the side seams or the next seam to the round one. Have the 
space of belt between the fastening loose. 

To prepare the neck of waist for the collar, trim the neck evenly, 
bind with a narrow piece of bias silk. 



Section 4. To finish the Sleeve. 

Stitch, take out bastings, overcast and press the seams. Baste 
into the wrist a bias piece of thin canvas, 2 inches in width. If 
sleeves are closed at the hand, simply baste the bias silk facing on 
the outside of sleeve. Beginning at the back seam, stitch at the 
edge, turn up and hem, making an even edge in turning. 

If the sleeves are open at the wrist, baste the silk facing on the 
outside around the opening, cut it off the size of the sleeve, baste 
facing down the sides of the opening on a straight line with stitched 
seam, stitch facing on the edge, turning corners neatly, and stitch 
up to the seam or end of the opening. Trim, making an even edge. 
To turn a square corner, cut off the point, and fold one side of the 
corner over the other, turn facing to the inside, and hem to the lin- 
ing. 

Section 5. To plait the Full Outside to the Lining. 

First baste the material to the lining on the under portion of 
sleeve from front seam to back. Then find the centre of the remain- 
ing quantity of material, mark, and, if a box plait is desired, have 



52 

this for the centre of the same, measuring 3 inches, for the top of 
the sleeve. Then plait up goods on each side of box plait to 
within an inch of the front seam of sleeve, having the same number 
of plaits on either side, and baste securely to lining. Care should 
be taken to see that the plaits do not slip, but have every one the 
same size when the sleeve is basted into the waist. 

Section fi. To shirr the Goods. 

Baste the material to the lining on under portion of sleeve, as for 
plaiting, and gather, beginning a little distance from the front seam, 
and sew around to the back seam. Put in as many rows of sewing 
as you desire, then draw up to the size of lining, baste to same, and 
the sleeve is ready to sew into the basque. 

Section 7. To make Puffed Sleeve. 

Cut the puff the length and size desired. Tack the inside seam to 
the inside seam of the sleeve. Gather about 2 inch from edge, and 
baste to the sleeve (first making a fitted sleeve, with material to 
form a deep cuff), having the greatest quantity of fulness on the 
upper side of the sleeve, with very slight gathers on the under side. 
Turn, and gather to the lining at the top. If for a double puff, make 
the goods longer, and gather through the centre of puff to the sleeve 
lining. 

To finish the Top of Sleeve. 

Gather, shirr, or plait the full outside to the lining ; and, if the lin- 
ing is fuller than the arm size, gather that slightly on the upper por- 
tion before basting the outside material to it. 

Section S. To sew Sleeve into Waist. 

Try on the waist, and trim out the arm size, if necessary. Put the 
sleeve on the arm comfortably, pin inside seam of the sleeve to the 
front of the arm size. The front seam of sleeve usually comes 
about 2 inches front of the first under-arm seam, but it depends 
upon the cut of the waist. Pin outside seam of sleeve to the arm 
size at the back. Baste into the waist, try on. If sleeves are right, 
stitch them into waist. Trim the seams, overcast or bind with 
taffeta. Put the sleeve-protectors in. 



53 



Section 9. To put in Sleeve-protectors. 

Sew the protectors in under the arm toward the front. Sew 
only on the points of protector, and have it loose. Fasten in two 
places on the seams of the basque, being careful not to have the 
shields to draw the waist in the least. Then sew shields on the 
edge to the inside of the sleeve. 



Section K). To make a Plain Collar. 

Cut from collar canvas the desired shape and width, have the 
collar a little larger than the natural size of the neck. Baste on the 
outside a piece of silesia, then baste on the material (which should 
be cut on the bias, with a seam through the centre). Cut the si- 
lesia and material larger than the canvas, cat-stitch the upper and 
lower edges to collar canvas on the inside, have the outside 
smooth. Baste flat on a silk lining, shape to the collar, hem lining 
on the upper and lower edges, leaving the ends open. 

To sew the Collar to Waist. 

If collar is to be fastened at the front, find the centre of collar, 
and place to centre back seam of the waist. Sew the collar well 
over the binding, and stretch very slightly the neck of basque as 
you sew on. Turn in the unfinished ends slanting at the top, sew 
on small hook and eye, and hem down the silk lining on the ends. 



Section 11. If Collar is to be fastened at the Back. 

Find the centre front of the same, sew to the centre front of the 
waist on the right side, stretching the neck of dress a little. Leave 
the left side to hook at the back, finish ends, first sewing in hooks 
and eyes. 

See directions for making fancy collar in another section. 



To prepare Edges for Stitching. 

As a finish for revers, bottom of waist and sleeves. Baste on, 
stitch, and turn the facing so as to form a perfectly even edge. 
Turn good square corners, finish and press the edges which are to 
be stitched, and run one or two rows evenly on the same. 



54 



Section 12. To face Re vers and Collars of Cloth 
Dresses with Silk or Satin. 

Face with the material of which the gown is made, finish and 
press in the usual way, stitch the edge, press again, and shape the 
silk to the revers on the outside, then turn the silk, and blind-sew 
carefully to the revers, leaving a margin of the cloth. 

Bone the dart at the centre of a pointed belt or girdle. 

Bone each side of the fasteninsrs at centre front. 



To Make a Crush Collar. 

Make the collar by rule for plain collar, cut a bias piece of silk or 
velvet the width desired, find the centre of same and fasten to the 
centre front of the collar, baste to the canvas on upper and lower 
edge, fold into three or four plaits the full material, and gather in 
the ends and finish in any way desired. 



CHAPTER V. 



Section 1. The Skirt. 

As for the skirt, general rules that will cover all styles of plain or 
ordinary skirts are herewith given. It may seem as if a small num- 
ber of directions has been given ; but the aim has been to present, 
under the head of cutting, basting, making, and hanging, such gen- 
eral instructions that one cannot be at a loss as to how to cut and 
make any kind of a skirt. The rules are perfectly reliable, and will 
always bring about a satisfactory result, if followed carefully. 

To cut the Front Skirt Lining. 

Lay the lining on a table in the same position as for cutting the 
front basque lining. See Chapter I., Section i. Lay front of the 
skirt pattern on the lining, having the centre front of pattern on the 
folded edge and bottom of pattern to edge of goods at the left. 
Cut out front lining. Notch all portions as they are cut. 

Section 2. To cut Side Gores. 

Have the selvage turned toward the person, lay the front edge of 
the pattern of side form toward the selvage. Have the pattern 
slant away from the selvage edge at the top if directed on pattern. 
If not, run it even with lining. Piece the back edge of side gore, if 
lining is not wide enough. If it can be avoided, do not piece any of 
the portions when cutting the material. 

If hair cloth is chosen as a stiffening for the skirt, there is wisdom 
in having it shrunk before making up, as, if one should be caught in 
a rain, it will surely grow smaller unless it has had this treatment. 

Section 3. To cut the Back and Back Side Form. 

Lay the pattern of forms on the lining, with perforations, — which 
should be on a straight line, through the centre of the pattern, — on 



56 




DIAGRAM XII. 

Showing one-half the front portion of the skirt. Baste through the cen- 
tre ; then, stretching the material on lining, baste from centre to end on 
the bottom. 

The centre front of pattern on a folded edge of the material. 



57 

a straight thread of the lining. Always have the front edge of the 
pattern turned toward a straight edge or selvage of the goods. Cut 
the outside material in the same manner described above. 



NOTE. 

There are many new skirt patterns out each season, with full di- 
rections for cutting. Only general directions are given for cutting, 
basting, and hanging a skirt. 

Section 4, To face with Canvas or Hair Cloth. 

Cut canvas or other stiffening the width fashion demands. Baste 
it to the inside of lining, and stitch close to the edge at the top. 
Cut stiffening for back form the full length, if necessary. 

Section 5. To baste the Material of Skirt to the 

Lining. 

Lay the goods even on the lining next to the stiffening, first 
baste the front or least gored side, from the bottom up have the 
material tight on the lining by smoothing up the material after each 
stitch taken in basting. 

Then commence at the starting point, and baste at the bottom. 
Keeping outside a little tight on the lining, finish basting the gored 
edge in the same manner, and then baste across the top. Baste 
front portion through the centre of the material to lining, then 
across the bottom from the centre to each side, slightly stretching 
the edge, then up the sides, smoothing the outside material on the 
lining, and then across the top. If the skirt is cut in many gores, 
continue to baste all by Section 5. The material, lining, and inter- 
lining should be basted so that, when finished, the skirt will look 
from the outside like one piece or thickness of material, with the 
lining and all inside trimmings slightly fulled. 

Section 0. To join the Skirt Portions. 

Pin the seams together, commencing at the bottom, being watch- 
ful that the ends shall come out even at the top. Baste the seams. 



58 




DIAGRAM XIII. 



A side gore of skirt with the material folded hack, showing the inter- 
lining. 

Front edge to be turned toward a selvage of the lining or material. 



59 

on no account allowing the side held nearest you to become fuller in 
sewing. 

In basting the darts of the skirt, care should be taken to run them 
gradually to a sharp point, so that, when pressed, it will not show- 
plainly where the seams leave off. 

Try the skirt on. Stitch the seams straight, take out bastings, 
press and overcast them. 

To overcast the Skirt. 

Trim the seams neatly, open them, and sew on the right side or 
side on which the material is. Slant the stitches, taking up a very 
little of the seam in sewing, and trim off frayed ends as you work. 
Press the seams open straight from the bottom up. Press the darts 
open, carefully pressing the seams so the points will not show, or 
the seams may be bound, if preferred, with taffeta seam-binding. 

Get the centre front of the skirt, then pin all the seams to corre- 
sponding seam on the opposite side. Spread the skirt out on a 
table, and, if there are points at the seams, trim off just a little, 
although it is not necessary to trim off the bottom of a skirt, if cut 
by a good pattern. The skirt is now ready for the inside facing. 

Section 7. To face the bottom of the Skirt 

Cut a bias facing of alpaca, about 5 inches deep. Join the widths, 
and press them. Lay the skirt on lap-board. Begin at centre back, 
and baste the edge of facing smoothly, running it even with the 
bottom of skirt. Then turn the facing in at the upper edge, and 
baste to the skirt without laying plaits. This can be done neatly by 
making the facing a little full under the stitch as you baste. I would 
advise you not to lay plaits on the seams, as it is likely to make 
them pointed at the bottom. Another way to face the skirt is to cut 
facing by gores of the skirt, sew together, press, and baste to the in- 
side. Hem the facing to skirt lining with strong silk, making the 
stitches very close and firm. Press the facing. See that the out- 
side material has not slipped away from the bottom edge of the 
skirt lining in working on it. 

Section 8. To sew on Braid or Velveteen. 

Commence at centre back, and full the binding slightly, basting on 
very closely with cotton the color of the cloth, the fine basting to be 



6o 

left in after stitching (take the seam sufficiently deep so that the 
goods will not fray out). Stitch the binding on the basting. Trim off 
any frayed edges which may appear. Then lay the skirt on the lap, 
having the lining side toward you. Turn the binding up, making an 
even edge, leaving it to show just below the bottom of the skirt. 
Hem with strong silk, being careful to prevent stitches from show- 
ing on the outside of the skirt ; and in sewing hold the binding, 
which is a little full, so that it will not appear puckered. In taking 
the stitches, draw the braid each time into place ; that is, draw the 
binding back to the stitch which was previously made, thus making 
the surface of the binding perfectly flat and forming an even line of 
hemmins:. Shrink braid before using;. 



Section '>. To face the Skirt Placket. 

Make a fly of the dress goods longer than the opening. Line with 
canvas, and face with the skirt lining. Sew to the seam of placket, 
and face the other side. Avoid having a poorly finished corner at 
the end of seam. Finish so that edges will join a continuous line 
from the rest of the seam. 

Section 10. To hang the Skirt. 

Measure the centre front, centre back, and on all the seams, the 
desired length, which is generally about even all around, if a walking- 
skirt, and the person stands erect. Still, for some figures the skirt 
is made a little longer front than back. However, measure just as 
you did the figure, allowing the skirt i or s of an inch longer than 
you wish to have it when finished. Place pins or marks as you 
measure. Cut off the surplus goods, should there be any. Make 
a very narrow waist-band of a straight piece of the dress goods, and 
line it with the silesia, having it | inch larger than the actual 
size of the waist. Leave the edge unfinished. If the skirt fastens 
at the back, get the centre of the band, place it to the centre front 
of the skirt (sew only the lining of the skirt-band, having the seam 
to come on the outside of skirt), baste band from the centre to where 
you wish the plaits or gathers to begin for centre back, which should 
come into a very small space of the belt-gathering in the fly. 



Section 11. To sew a Belt on a Side-fastened Skirt. 

Fit the front and side front gores of the skirt over the hips. 
Stitch and press the darts, then, measuring off size of belt, gather 
the back gores. If the skirt is sewed into a very small space of the 
belt, find the centre of the remaining portion, place to the centre of 
the band of the skirt on the lining side, and baste on either side. 
Turn, stitch, and turn the material over the seam, baste, stitch, and 
finish in the ordinary manner. 

Try the skirt on. If it hangs well and is right for size of waist, 
stitch the belt on, then baste the material on outside of the band 
down to stitching, turning under enough of the edge to prevent it 
from ravelling out. Turn in the ends neatly, and stitch band to 
skirt on the upper side. 

If the top of the skirt is to be faced instead of having a band put 
on, baste as directed from the outside, and turn down to the lining. 
Many dressmakers finish the skirts in this way, when they are very 
close fitting about the hips or for stout ladies. 

Slip the hook in between the lining and outside, fasten securely 
with buttonhole twist, sew the eye on the outside of the belt, having 
the loop edge to come to the seam where the fly is sewed on. 

Sew hooks on inside of the band, equal distance from the centre 
on either side, to fasten to eyes sewed on the inside belt of waist 
to prevent the skirt from drooping at the back. 

Measure from the belt down the side seam equal distance on 
either side, mark with pins, and sew elastic on the inside of the 
skirt to keep the folds in place at the back. Sew in the silk dust 
rufl^e, which adds greatly to the beauty of a skirt. For the pres- 
ent stvle use hair cloth as an inside lining, and sew between vel- 
veteen, or braid binding, and skirt flat featherbone to give the 
fashionable flare at the bottom. 

When making the skirts of fine cotton dresses, measure the hem 
carefully, and sew by hand. 

NOTE. 

To find the straight or lengthwise thread, measure equal distance 
from the selvage on upper and lower ends of the cloth or lining from 
which the portion is to be cut. 

Be very careful, in basting a bias to a straight edge, not to stretch 
the gored side. 



62 




DIAGRAM XIV. 

A side view of the tinished _i;o\vn. Note the curve of basque over the 
hip and the hues of bias dart. 



63 



SUMMARY. 

Be careful to baste the outside material very smooth, almost tight, 
on the linings of skirt portions, as it will wrinkle and look very bad if 
not properly basted. 

In basting the outside to lining of skirt, the material should be on 
the upper side while working. 

In joining the skirt portions, have the ends, even on both sides of 
the seam, at the top or upper end of same. 

Always cut the front portion with the centre of pattern on a 
lengthwise fold of the lining and material. 

Always buy the newest skirt pattern. 

In basting seams, on no account allow the side held next to you to 
become fuller than the other. 

Fit skirts easy, not very tight over the front and sides ; and, if the 
wearer is possessed of prominent abdomen, make a few slight gathers 
across the front, or, after fitting the darts, hold the skirt toward the 
person while sewing the top to a narrow binding. A very narrow 
belt or bias cording fits a large waist better than a broader one, and 
gives a longer waist. 

In taking up the darts of a skirt, care must be taken to run them 
to a sliarp point, so that, when stitched and pressed, it will not show 
plainly where the seam leaves off. 

To sew on the feather-bone, place the finger between the outside 
material and linings, and, holding the feather-bone loosely, sew it to 
the facing, lining, and interlining before sewing on the velveteen or 
braid, allowing for a medium seam in stitching on the latter. 

For stiffening around the bottom edge of skirts use the narrow 
bone which comes for this purpose. It is mounted in the centre of 
a braid that extends beyond the band on each side, making it easy 
to sew the band to position. This bone is pliable, and will hold the 
skirt as fashion dictates. Another arrangement of bone, which is 
covered, but which has no extension of cloth like that described, is 
shown ; but I do not recommend it. The former I have used, and 
find it all that one can desire for the bottom of skirts. For revers 
and trimming I would recommend the round bone or cord, which can 
be stitched through the centre to the trimming. 

Use the greatest care in measuring all seams of your skirt from 
the bottom up, trimming off the surplus material before hanging it. 

Make the skirt quite long, and have the waist-band tight. 



64 

Do not piece the portions of gored skirts vvlien made of double 
width material ; but, whenever it is possible to do .so, cut the gores 
whole, without adding small pieces to finish out the bias sides. Of 
course, in making some styles of skirts from silk or other single 
width goods, this cannot always be done ; but, if obliged to piece the 
portion, make a straight seam, smoothing it very fiat. Speaking of 
neat seaming reminds me to caution the reader to stitch the seams 
of skirt — in fact, all seams — as carefully as you would the basque, 
not allowing the stitching to run in at the lower edge, and so pucker 
the dress at the bottom. In pressing, make a straight line, do not 
pull the seams ; and, in sewing on the braid, stretch the edge of skirt 
very slightly. 

In making skirts of very thin or soft fabrics, the stiffening should 
be sewed on the outside of the percaline lining, having the cloth to 
come next to the latter instead of on the grass or hair cloth. 

Join all bias facings correctly. Sew together the straight edges, 
and join the cross-grain to cross-grain. 

Some stout persons fall in just below the waist-line. I would 
advise the pupil to affix for these a very small pad to the back of the 
skirt-band to fill out this part of the figure in an imperceptible man- 
ner. 

Many women complain of the weight of the silesia skirt lining 
and heavy interlinings. In the summer, when this is felt, I would 
suggest using a lining of the thinnest percaline ; and, if a stiffening 
of grass or hair cloth is used, have it of the lightest weight. 

Never line a lace or any thin gauze fabric with anything but silk, 
and have the skirt of such a dress loose from the silk foundation 
skirt. 

If making a dust ruffle instead of buying that which is prepared, 
cut silk 4 or 5 inches in width, making ruffle the width of the skirt 
and one-half over to allow for gathering. Trim off the selvage, join 
the pieces, hem edges, and mark off into four equal parts. Fasten 
these marks to the inside of skirt after it also has been divided into 
quarters. Measure a needleful of twist the length of one-fourth the 
width of skirt, and sew the ruffle to the lining and facing, but do not 
have the stitches to come through to the right' side. 



65 




DIAGRAM XV. 

A back view of the finished gown, showing correct curves of back waist. 



Practical Suggestions. 



The devices of fashion are as changeable as the wind ; and, as to 
the character they will assume for the future, it is never definitely 
known until the season is upon us. Yet what is prescribed to be- 
come conventional undergoes more or less modifications to suit the 
style and purse of the wearer. While I realize that I should run a 
great risk in saying what will be fashionable a month hence, aside 
from giving standard rules, it may be well to make a few sugges- 
tions concerning the goods and style of making which is likely to 
be worn for some time to come. 

The following notes will at least help the woman of limited means 
who wishes to dress well, but cannot afford to make an entire 
change in her wardrobe every season. 

In choosing the materials for a gown, one should consider several 
points. These are color, texture, ornamentation, and the occasions 
on which the dress is to be worn. 

For travelling or general wear mohair, or whatever other smooth- 
faced material that is stylish and light in weight, will take the fancy 
of every lover of comfort and neatness. 

For handsome winter costumes a very elegant effect is produced 
in the combination of fur and velvet used as a trimming on cloth 
suits. 

It is bad taste to buy showy, extravagant-looking dress for church. 
While a costume for this purpose may be elegant, to be appropriate 
for the occasion, its elegance should be of a quiet and refined char- 
acter. 

In regard to walking dresses, it seems to be almost a rule to make 
the basque or coat quite long. 

For dressy evening wear may be mentioned lansdowne, which 
comes in the most bewitching colors, and is the next desirable mate- 
rial to silk, besides being considerably cheaper. A good quality can 
be purchased for $i.oo per yard. In fact, I believe there is only one 
or two grades manufactured. It is 44 inches wide, 7 or 8 yards 



67 

being required to make a gown. It may be used in combination, 
and makes up exquisitely, giving a lustrous effect. 

Organdies and linen lawns are very pretty and attractive for sum- 
mer dresses. When daintiness and prettiness are especially to be 
desired, muslin or tulle is the material to be chosen. 

For a light weight dressy costume nothing excels the summer 
silk. 

Shaggy goods have been and still are immensely popular for fall 
and winter gowns, but they are the slender woman's delight, and she 
alone may revel in them in the shape of entire costumes. 

Aside from the fabrics mentioned in the introduction of this guide 
there are shown many plain, tiny striped, and corded goods which 
makes very rich dresses for stout ladies. These may be associated 
with trimmings of a contrasting but suitable material, and will look 
very handsome when completed. 

As to the sleeve, people of moderate taste will still cling to the plain 
reasonably full one. This appears to be the favorite style, though 
that which shows a fulness above the elbow ending in a deep cuff has 
an equally graceful effect, and is especially suited to the young woman. 

The draped sleeve is also occasionally seen, but it requires the 
touch of a skilled fashioner to make it as it should be. 

Sleeves of evening dresses many have ruffles of fine lace or puffs 
of any thin fabric. 

The round waist (one pieced back) is certainly not adapted to short- 
waisted persons, and many ladies think that they ought to be voted 
out, although the basque may be cut so exceedingly short over the 
hips and terminate in such small points back and front that it will 
closely resemble the waist. 

Skirts should be fitted to the wearer when basted, and again when 
ready for the binding. 

Revers, long and narrow or short and broad, according to the 
height and size of the one who is to wear them, are generally fashion- 
able. 

The dressmaker of to-day does not hesitate to combine what at 
first sight seems the most incongruous colors and fabrics ; but, if she 
has correct ideas as to the blending of shades and so on, the com- 
bination is sure to meet the favor of the fashionable woman. 



Practical Suggestions to Young 
Dressmakers. 



Do not make the mistake of gathering ruffles, the top of sleeves, 
or any part of the work, too near the edge. 

In gathering any part to be sewed to a plain portion, leave a deep 
heading and make fine stitches, using buttonhole twist. 

By observing the above directions, you will find it easy to regulate 
the gathers, and will have sufficient cloth to hold in basting. 

In fact, enough seam should be allowed in sewing to avoid all 
chances of the work fraying out or slipping when joining it. 

For all finishing on which there is likely to come much strain, use 
strong silk or buttonhole twist, and thereby save your costumes and 
yourself a great deal of annoyance. 

Remember that very fine silk is good only for thin work and fine 
hemming. 

In cutting, have the front edge of every portion of the pattern 
turned toward (not necessarily parallel with) a selvage or lengthwise 
thread of the lining and material. 

Notice the distance of the slant away from the straight grain at 
the waist-line of the basque. 

Sre Diagram I. for waist. 

The waist pointed back and front gives one a tapering appear- 
ance ; and, if a short basque is desired, this is the correct style for 
very large or short-waisted persons. 

Heavy silk or any goods which is of a firm texture should be made 
on a soft but strong waist lining, and will require more care in fit- 
ting than material of a clinging quality. 

An important element in dressmaking is comfort for the wearer. 

An arm hole that cuts or a too tight waist will spoil the hand- 
somest sown. 



69 

In cutting goods which are not reversible, cut off each length 
separately. Lay two pieces together. See that the flowers or 
design on each runs the same way. Lay your pattern on, and cut 
out. 

Cut all portions of the waist and skirt double. 

Cut off the selvage of silk before seaming. 

Always have the lines or seams of the waist to follow the curves 
of the figure. 

A corset is a very good example of how a waist should look on the 
wearer. 

Always fit the basque right side out. 

In cutting have the front edge of every portion, except back form 
of the waist, toward a selvage or straight thread of the lining or 
goods. 

Always, in basting the material to the lining of a skirt, work from 
the bottom up on the material side. 

Never have any portion of the lining cut on a different thread of 
the goods than the outside material. 

Notice the terms used, and do not confound them. 

Facing should be cut on the bias, and basted in smoothly. 

Turn perfectly square corners. 

All edges should be either straight or an unbroken curve. 

Each portion of the lining and material, when cut, should be laid 
four double. It saves confusion when basting. 

Remember that the sides of any portion of the gown which are 
most gored are inclined to stretch. So, in joining them to a straight 
edge, hold the gored side a little full, to make the end of the seam 
even when finished. 

Pin seams of skirt together before basting them. 

In working on velvet, baste the seams together with long stitches 
to have the ends of seam even. Then baste the work very care- 
fully and closely, as it is likely to slip and become uneven in spite 
of your very best efforts. 

In making over dresses, rip, sponge, and press the goods before 
commencing the garment. 

Add new linings, if needed. 

When making alterations, press out the original seams. 

Always use good lining and inside findings. 

Silk, velvet, or lace in the form of a vest, revers, cuffs, collar, or 
other trimming, may be relied upon as a safe and economical decora- 
tion for nearly all cloth or novelty gowns. 



Broadcloth, covert, and serge make handsome tailor style cos- 
tumes. A velvet collar of a darker shade adds greatly to the beauty 
and style of such a gown. 

White or light vests introduced into dark costumes are effective 
and pretty. The vest may be either plaited or plain. If plain, it 
can be overlaid with heavy lace or passementerie of an open design ; 
but, of course, the manner and kind of trimming must be governed 
by the prevailing style. 

When belts are fashionable, large or short-waisted persons can 
have a twist of the trimmings of the dress or a narrow band or fold of 
passementerie, ribbon, or other trimming, at the bottom of the waist; 
but it should invariably be pointed in front. Any mode of decora- 
tion for the bottom of the basque which is pointed is more desirable 
for certain figures than one which is straight, encircling the waist 
tightly. 

Try to strike a medium in dressing, not to deviate too far from 
the dictates of fashion, and yet not to be so extremely fashionable 
as to be dressed unbecomingly and so appear ridiculous. 

Most of the sewing on cotton dresses, except the stitching of 
waist and skirt, should be carefully done by hand, as though it were 
the finest silk gown. 

Silk, velvet, or lace, or the three combined, are always suitable 
trimming for novelties and soft wool fabrics. 

A high collar, flaring away from the neck at the front, gives a dig- 
nified appearance, and is especially suited to matrons and elderly 
ladies. 

Stitch small feather-bone along the edges of revers between the 
outside and lining, to keep them from falling out of place. 

Have the fulness on the tops of sleeves to come over the shoul- 
der, not too far back, not too near the front. Gather fine stitches, 
making two rows of sewing. 

For every style of waist make a fitted lining, fastened down the 
centre front. 

To measure for skirt length, have an extra tape pinned tightly 
around the waist, and measure from the tape nearly to the f^oor. 
Measure skirt an inch longer than the actual length. 

I will once more caution the reader not to exaggerate the stretch- 
ing or smoothing of all outside material of the gown over linings. 
You will find it frequently referred to in this guide ; and, while it is 
absolutely necessary to have all outside material and edges drawn 
tightly over the inside finishings, the exact amount must be deter- 
mined by the judgment of the reader. 



71 

Fit waist lining as carefully as though it would show on the 
outside. 

In preparing for comfort in the finishing of the neck of a gown 
for summer wear, I would suggest, especially for the short-throated 
woman, that the collar be cut quite low at the front. 

A full or flat vest, according to the figure of the intended wearer, 
is generally fashionable. 

Every style of lengthwise trimming, such as bretelles, tapering 
revers, ribbon, lace, or passementerie bands, and medium-sized taper- 
ing plaits, is becoming to full figures. 

The folloiving su^s^gestions viay not he out of place. Make a note of 
your customer's order. If she leaves the style of making and trim- 
ming of her gown to your judgment, let her know just how you 
propose to fashion the garment, and so avoid any possibility of hav- 
ing to undo the work when it is completed. 

Study your patron's style, and suggest to her what you think will 
be most becoming, but do not expect to have your own way con- 
cerning her work. If she has selected a color or tint which is not 
the correct one for her complexion, or a plate not adapted to her 
figure, and you cannot convince her that it is so, do what you can to 
make the garment look well on her by making a few slight changes 
or additions in trimming. This is seldom necessary, as most 
women who do not know what to wear will submit themselves to a 
competent dressmaker. 

It is well to cater to your customer's wishes, but not to her 
whims. Yet a dressmaker should know when a garment is prop- 
erly made, and ought not to suppose that a patron will accept work 
less perfectly done than she herself would wear. 

Every dressmaker knows the advantage to be derived from a 
good start. To insure this, see that you have all the necessary ma- 
terials for your gown the day before commencing the work. Also 
give special attention to your basting cotton, needles, and so on. If 
you have everything with which to work, it will take but a short 
time to cut and make the dress. 

Make up light or party work as quickly as possible, and thus run 
no chance of getting it soiled by handling and being around the 
sewing-room a longer time than is absolutely necessary for its com- 
pletion. 

If making a number of dresses at the same time, much confusion 
may be prevented if you will have large pieces of cotton cloth in 
which to wrap the dresses while you are working on them. 



72 

A great amount of time can be saved if the young dressmaker 
will have ready simple parts of the work, such as binding of seams, 
overcasting, or hemming, to take up when she has a caller during 
work hours. I think the average woman is apt to have a greater 
number of visitors when she has planned to do some special work 
than at any other time. 

Endeavor to select a day for cutting when you will have fewest in- 
terruptions. It matters not how experienced one is, she cannot 
work successfully if her attention is divided between dress-cut- 
ting and other duties. 

Every dressmaker should provide herself with conveniences for 
doing her work. Have a long table for cutting out work, a small 
sewing table or board to baste on, a board thickly covered for press- 
ing, tracing wheel, and many other articles which for lack of space 
are omitted. 

Study your "Dressmaking Guide" as you would any other lesson, 
not only at the time you wish to use it, but when you are sitting 
down for an hour's leisure. 

If possible, always sew in a sunny room. 

Do not attempt to make a fancy or elaborately trimmed gown 
until you have mastered the art of completing a good-fitting plain 
but stylish one. You will find this a better way and gain a reputa- 
tion as a good dressmaker quicker than if at the beginning of your 
career you should try to make a garment which is impossible for 
you to do properly with experience gained in a short time. Re- 
member that perfection comes through constant practice, and that 
every one who has attained any degree of success in any line began 
with the rudiment of the work. 

I do not mean that you shall say to the customer that you cannot 
make the dress she desires ; but, if you have a natural taste for the 
work, there is a way to secure the patronage of nearly every person 
who comes to you. By exercising tact you can design a gown and 
arrange for her the trimming in such a manner that nine times out 
of ten she will leave her order and trust the making entirely to your 
judgment ; and you will of course in turn give her your very best 
work. 

Don't get discouraged, and think you will not make a success of 
the trade because you sometimes have a patron whom you cannot 
please. It may be that neither of you, individually, is at fault ; but 
there are persons that annoy and fret one another even in business. 
Do your work well, never slighting any part, and sew for those whom 



73 

you can satisfy. You will find many to encourage ; for there is 
nothing dearer to a woman's heart than a well-made gown, and she 
does not fail to commend the modiste who suits her. 

I might write at great length upon the beauties of fashion, and I 
confess that, like most of my sex, I have this special weakness ; but 
in this guide I am restricted, because we cannot say positively what 
will be worn in the future. So, without attempting to penetrate too 
deeply into the mysteries of the fickle goddess, I hope to have pre- 
sented a clear conception, and covered most of the points in buying, 
cutting, and making any ordinary gown. 



Shopping Done. 



Goods purchased from the best dry-goods houses and sent to any 
address for the regular price which would be charged at the stores, 
materials and trimmings matched, the greatest care taken to buy 
suitable colors for all complexions and shades of hair, the strictest 
economy exercised in buying, and suggestions given as to the mak- 
ing. By availing themselves of this offer, ladies can dress elegantly 
with little expense. 



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NOTE . . . 



Draughted silesia patterns, with full directions 
for using them 

SEND LENGTH OF WAIST 

From the collar base to extreme point of 
waist at the back 

SIZE OF WAIST A ND LENGTH OF WAIST O F FRONT, 

Measuring from the centre back neck a 
straight line over the shoulders to the ex- 
treme point of waist at the centre front. . 

SIZE OF BUST. 

Measure around the largest part of the t]gure. 

LENGTH OF SLEEVE, SIZE OF ARM SIZE AND ELBOW. 



TO ANY ADDRESS. . . . rflCC, «I>I«^d ^tlu «I)Z.UU. 



A. A. CASNEAU, 



9 Greenwich Street, Boston, Mass. 



LIBRARY OF CONGRESS 




014 060 066 



